• photography Sandra Myhrberg

    fashion Louise Dyhrfort


    top and skirt Ono Ateliers
    earrings and ring Ole Lynggaard

    Diane Emerita on Music, Memory, and Momentum

    Written by Sandra Myhrberg

    After a whirlwind year filled with praise from major media outlets, airplay on P3, and a standout performance at Way Out West, singer-songwriter Diane Emerita finds herself both exhilarated and grounded. Her music—intimate, conceptual, and often rooted in family and memory—has resonated widely, yet she still writes songs on her mother’s piano and juggles her music career with a mathematics degree.

    Sandra: You’ve had quite a whirlwind year—praise from major media, airplay on P3, and a performance at Way Out West. How has this rise affected you, both creatively and personally?
    Diane:     It is fun and scary and interesting. I am taking my time to process it all. I still can't believe I have done certain things like having a song of mine in the game SIMS. But then most of the times I am just myself and not my “artist persona” so really I am quite calm and don't think about it too much. I study a bachelor in maths and besides music that pretty much fills up my thoughts. Creatively, I am just excited that people seem to get something out of my music and buy tickets to my shows and that I get to see how far the music can reach. I remember a line in Frank Ocean's song Futura Free saying “Play these songs, it's therapy momma, they payin' me momma, I should be payin' them” and I resonate with it a lot. I get so much out of reflecting my own thoughts and emotions and expressing them through my music that mostly I am just thankful that I get to do and make a living out of it as well. So then, I write and sing to find out what I have to say.

    S: Your music feels deeply personal, often rooted in storytelling. “Indigo Bruised” is another collection of songs based on stories about your family. What draws you to these themes, and what can listeners expect from this EP?
    D:     I looove storytelling. I like to intentionally work with concepts because it somehow becomes a challenge for me to master - a problem solver. Music and the visual expressions, including styling and performances become so much easier for me to coordinate when they have a connected concept. I get emotionally invested. Also I think it is quite refreshing working with themes because it is easier for me to understand where I start and where I draw the line and move on to the next project. For instance “Indigo Bruised” has four tracks in it because I wanted to dedicate one song to my mom, sister, father and brother, simultaneously as making each symbolise a season as well. But there are only four seasons, so that is how many songs I made. Listen to “Indigo Bruised” and see if you can guess which song is what season. (Either way you are right)

    S: You’ve continued working with producer Hampus Norén, who also contributed to “Traveling Forever.” What is it about this collaboration that keeps you coming back? How has your sound evolved together?
    D: I think I like the way how he challenges me to let go a bit. To see it all more as a game than something serious. Well I still take music very serious because it makes me feel so much, but it has definitely been a nice journey to allow some imperfections into creating the sound of my songs. There is a clear seriousness to the songs I released before “Travelling Forever”. Hampus brings in an aspect of playfulness and “dirt” into the productions. He likes for it all to not sound all too clean and perfect, which I think helps giving the music emotional depth. And also it takes a long time for me to let someone into my creative space, so he has also become a comfortable teammate to keep because he know gets me. I know what I want my music to sound like and I always have very clear references for the production if I am not producing myself and then he always manages to give me more than I've asked for, which is great. And then we have our incredible mixer Sven Johansson who just elevates everything we do and gives the sound the last needed edge.

    S: Despite all the buzz, you still write your songs at your mother’s piano. Is that a grounding ritual for you? What’s your songwriting process like—does melody come first, or do lyrics lead the way?
    D    :I have a lot of siblings, so my mother's place is a very lively house. Most of all I love playing on her piano because I get to disappear into my own bubble in the way I always have done even when I was younger and was still living there. So I float away into my bubble, but life around me kind of goes on. My songwriting process is a long one, I play the piano and after some time, perhaps weeks or a day or a second lyrics arrive. But the music, the playing always comes before the singing starts. I also love when some of my siblings start singing to along to what I am playing. You could indeed call it a grounding ritual, it gets my creativity flowing. I feel like Sampha's song “No One Knows Me Like The Piano” when I play.

    S: You’ve described Malmö as a creatively thriving scene. How has the city and its artistic community influenced your work?
    D:     Malmö feels warm and open both in climate and culture of the people. I really love the fact the artistic community is inclusive and welcomes everybody. Like there is no need to feel like you are competing with other artists for attention of others, everyone kind of supports everyone. It sounds very cheesy but ultimately I find it to be a very respectful, warm and vibrant place. I work mostly in Stockholm when it comes to music, so when I am at home in Malmö I get to chill and study which for me has been such a necessary place of refuge.

    S: Your handmade “ugly cups” have become something of a signature. What sparked the idea, and do you see this kind of hands-on creativity as an extension of your artistry?D: My mom has had ceramics as a passion of hers for as long as I can remember. So I used to come along to her studio and just spend hours exploring clay without ever really properly learning how you throw or build in a traditional way. That's were the idea came from to make “ugly cups” when I started picking up ceramics again in my own studio in Malmö last year. To make cups not because they would be perfect, but make them because it was fun. It is a nice way to show appreciation for the people that listen to my music, because I sold them very cheap and they were very much made with love and care - each exemplar was unique. But making ceramics merch was such a long and intense process taking several weeks for cups to get done. So I am taking a small break from it for now before starting producing cups again for when I release my album next spring.

    S: “Indigo Bruised” is described as both ‘driving and soft’ with intricate production details. How do you approach this contrast in your music—balancing energy with emotional depth?
    D:     Most of my songs include the first take or single takes of me singing. Which basically means that I like to keep the first impressions that I gave when singing the songs for the first time in a microphone. I think that gives my lyrics emotional depth. I like the idea of honesty in it, surely I am quite the perfectionist at times and also can try to take the same line of singing a thousand times to make it as perfect as I think it can be. But ultimately and most often I chose to go with the first time I recorded a song, it becomes symbolic, like a picture of the time I find myself in at the moment. But both Hampus and I strive very much towards good dynamics in the sound of the songs, I want there to be a driving pulse, he wants to feel the honesty in my voice. And Voilá a diane emerita song is made, soft and driving.

    S: With so much momentum behind you, what’s next? Do you see yourself experimenting with new sounds or collaborating with other artists in the near future?
    D:     I am making an album right now, and it is almost done, but I also haven't written most of the songs yet. Which is funny. But in my head it is very clear that “what is next” will always be me exploring my musicality and effectively the time of my life when I write it. So basically I am just making a soundtrack to my own life. So yes there will be new sounds and collaborations. For this new album I am seeing a lot of colour in the sound (whatever that might mean) and a dancing pulse. And I am counting with at least two, three featuring collaborations. But like I said, I now need to go and actually let the ideas out of my head and make them listenable to others. I am sure everything will fall into place.

    S: If you could collaborate with any artist—living or dead—who would it be, and why?
    D    : Uh nice and hard question. Too many to choose from, and the list is always changing. But I'll give you a cute short list:
    - Little Simz, because she is the greatest rapper of all time
    - Obongjayar, because of the way he sings
    - Jeff Buckley, I liked his lyrics
    - Robyn, because I love to dance to her songs  

    S: Finally, what’s something unexpected
    D:     I really like libraries, I think they should become the new supermarkets.

    top Ono Ateliers
    trousers Kristin Svensson
    shoes Cos
    earrings Stylist's Own
    rings Taffy Rainbow
    top Kristin Svensson
    trousers Stylist's Own
    shoes Carin Wester
    earrings Pearl Octopuss.y

    photography Sandra Myhrberg
    fashion Louise Dyhrfort

    makeup Alicia Hurst

    body Sini Saavala
    skirt Avalon For All
    shoes Julia Broscheit
    ring Ole Lynggaard

  • photography Mathias Nordgren

    An interview with Rasmus Georgiadis - winner of the NK Young Talent Award by Beckmans

    Written by Ulrika Lindqvist

    With botanical elegance, sculptural precision, and an unwavering vision of beauty, the winner of this year’s NK Young Talent Award is turning heads and turning fashion into art. Fresh from receiving the prestigious honor, Rasmus Georgiadis speaks with us about the journey from childhood sketchbooks to intricate, nature-inspired couture, the challenges behind the celebrated collection A Flourishing Confluence, and a creative process rooted in emotion, detail, and transformation.

    Ulrika Lindqvist: Congratulations on winning the NK Young Talent award. What are your initial feelings?

    Rasmus Georgiadis: Thank you so much. I’m incredibly grateful, and it feels truly rewarding to have my work
    acknowledged in this way. This kind of recognition makes all the hard work feel worthwhile.

    UL: Tell us a bit about your backstory. What did you study or work with before getting accepted to Beckmans?

    RG: Fashion has been a focus of mine for quite a while — both creatively and through academic research. In high school, I studied a fashion program with an emphasis on sustainability, which taught me a lot about materials, production processes, and their environmental impacts. From early on, I became aware of not just how I design, but why I choose certain materials over others.

    I began experimenting with draping during this time, since we mostly worked from pre-made base patterns. But I wanted to build garments from scratch, so after graduating, I took a year to study patternmaking in Malmö. Alongside drafting skills, I also learned Photoshop and Illustrator — tools that have since become essential in my work at Beckmans and beyond. In 2020 I moved to Stockholm and began studying Fashionology — and honestly, had I not gotten into Beckmans the following year, I likely would have pursued a full degree in that field.

    UL: What initially drew you to the fashion industry?

    RG: I think it started with art. As a child, I was always drawing — filling sketchbooks with characters, especially princesses and fairies. What fascinated me most was designing their dresses. That creative impulse never really faded. Over time, those fantasy figures turned into models, and the designs became more diverse and expressive. If you’d asked me what I wanted to be as a kid, the answer was always “a fashion designer.” There have been moments of doubt, of course — where I wondered what I’d do if fashion wasn’t an option. But I’ve never found a real alternative, which tells me this is the only path forward.

    UL: What is your inspiration behind your designs — and this collection in particular?

    RG: Nature has always been a big source of inspiration for me — especially botanical textures and organic forms. In this collection, that connection is very present. But the core idea was to explore how a garment and the wearer could appear to grow together — to feel like one unified form, or like an extension of each other. To give structure to that concept, I turned to one of my favorite childhood art styles: Art Nouveau. Its romantic, flowing aesthetics — seen in everything from illustration to interior design — became a guiding reference. I used this collection as a showcase of my techniques and creative growth.

    For example, I looked at how Art Nouveau book covers used symmetrical, botanical patterns, and translated that into laser-cut designs in gold silk, placed on mesh to give a two-dimensional “glued-on” effect. I also drew inspiration from ornamental metalwork, which I interpreted using 3D modeling and printing. It was a long process — from sketch to CAD model to physical piece — including patination to mimic aged metal. These components were meant to feel alive, as if the model was wearing, or becoming part of, an art installation. I try to create some kind of layered thinking for each piece — I enjoy working in small details
    that tell a bigger story.

    UL: Can you share some insights into your creative process?
     

    RG: For me, creativity is driven by emotion. I want my work to evoke a feeling in others — and forthat to happen, I believe I have to feel it twice as strongly myself. That can come from setting a mood with certain music, or from hours of draping until I land on a detail that truly excites me. If I, as my own toughest critic, feel something powerful about what I’ve made, it’s usually a good sign.

    I also rely heavily on drawing. I don’t use erasable tools when I sketch — I prefer the permanence of ink. It forces me to trust my hand, to commit to the line. The embroidery patterns in this collection were created by freehand sketching — letting intuition lead the way, thentranslating those lines directly into stitchwork.

    UL: What are your core values as a designer?

    RG: At the heart of my work is a commitment to creating my own version of beauty. I believe beauty is incredibly powerful — not necessarily in how others perceive it, but in how it can transform how someone sees themselves. To help someone feel strong, confident, and like the best version of themselves — that’s
    something I find deeply meaningful. Fashion can be a powerful tool for empowerment, and that sense of emotional transformation is what I strive for in every piece I create.

    UL: What was the biggest challenge in creating this collection?

    RG: The biggest challenge in “A Flourishing Confluence” was managing the weight and structure of the heavier pieces. I wanted the garments to feel light and effortless — almost like gravity wasn’t an issue — but, of course, gravity had plenty to say. For instance, the Ginkgo leaf piece is covered in thousands of rhinestones and weighs several kilos. I had to find hidden structural solutions — like reinforced stitching and built-in wire — tomake it appear weightless. Similarly, the angelic white dress worn by Carola was made from a material too heavy to hold its own shape. I ended up integrating metal wiring to support andsculpt it, and it took multiple prototypes to reach the final result. At one point, I nearly scrappedthe design because it felt impossible to realize. But pushing through those challenges made it all the more rewarding in the end.

    UL: What can we expect from you in the near future?

    RG: I have a few projects in the works, and I’m also opening up for private commissions. My vision isto bring beauty not just to the runway or red carpet, but to individuals — creating pieces in close collaboration with the people who will wear them. My goal is to design garments that don’t just clothe the body, but uplift the spirit — pieces that help people feel beautiful, magical, and unstoppable.

  • HUGO BLUE x Uniform Display: A New Chapter in Personal Style

    Written by Fashion Tales

    HUGO’s denim-forward line, HUGO BLUE, has joined forces with fashion platform Uniform Display to launch a new print magazine dedicated to self-expression and personal style. Known for its streetwise edge and cultural fluency, Uniform Display brings its unique voice to the collaboration, spotlighting Hugo Blue’s latest collections through immersive storytelling and editorial content.

    The project features style-savvy creatives from London, Paris, and Berlin, each city represented by local talents from Uniform Display’s network. Through personal city guides and authentic visuals, the magazine captures the real-world vibe of Hugi Blue’s street culture-inspired designs.

    The collaboration officially launched in London on May 22 with a celebratory dinner and afterparty at STEREO in Covent Garden. Guests explored editorial installations, a HUGO BLUE x Uniform Display claw machine, and a custom magazine stall, all bathed in the brand’s signature electric blue.

    With distribution across key London locations and select EMEA partners, the magazine cements HUGO BLUE’s position as a voice of the new generation, one that dresses with attitude, individuality, and cultural awareness.

     

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